{"id":4663,"date":"2025-07-04T12:17:11","date_gmt":"2025-07-04T12:17:11","guid":{"rendered":"https:\/\/keithwhittle.org\/?p=4663"},"modified":"2026-10-17T03:22:01","modified_gmt":"2026-10-17T03:22:01","slug":"dryden-goodwin","status":"publish","type":"post","link":"https:\/\/keithwhittle.org\/?p=4663","title":{"rendered":"Dryden Goodwin"},"content":{"rendered":"
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Dilate<\/h3>\n

Project description<\/h5>\n

Dilate<\/em> is an immersive installation by British artist Dryden Goodwin (b. 1971, London) that explores human identity, movement and perception through drawing, video and photography. Goodwin\u2019s practice is characterised by close attention to detail, slow-motion depictions of the human figure, and the combination of multiple media to investigate the passage of time and the complexities of human experience.<\/p>\n

The installation consists of a vast octagonal arrangement of eight projection screens that pulse with light and sound. As viewers enter the centre, they become surrounded by panoramic video sequences depicting a range of landscapes, both exterior and interior: expansive sea views, clifftops, the soaring architecture of a cathedral nave and the familiar spaces of the home.<\/p>\n

Through these shifting scenes, Goodwin creates a rhythmic movement between expanding and contracting horizons, examining how our sense of self influences our perception of space, and how space in turn shapes our experience of ourselves. The same landscape can evoke radically different sensations: an open view may suggest isolation, liberation or paralysis; the city anonymity, alienation or distinction; the home safety, confinement or overwhelm.<\/p>\n

Dilate plays with the perception of time and space, two recurring concerns within Goodwin\u2019s practice. By combining immersive moving-image sequences with an intense awareness of the viewer\u2019s physical position, the work creates an environment in which seeing becomes an embodied and psychological experience.<\/p>\n

Bio<\/h5>\n

Dryden Goodwin (b. 1971, London) is a contemporary British artist whose multidisciplinary practice encompasses drawing, video and photography. His work frequently focuses on close-up observations of the human face and body, bringing overlooked gestures and intimate moments into sustained view. His practice combines detailed drawing with moving image to explore perception, identity, time and the relationship between the physical and psychological experience of space.<\/p>\n

Goodwin has exhibited extensively in the UK and internationally. Selected exhibitions include Passenger at Camden Arts Centre, London (2014), In the Company of Strangers at The Whitworth, Manchester (2014), Drawn from the Inside at The Drawing Room, London (2013), Machine Vision at Wellcome Collection, London (2012), Self-Portrait at Ikon Gallery, Birmingham (2011), Frames of Reference at The Drawing Center, New York (2009), Sightlines at the Irish Museum of Modern Art, Dublin (2008), Close-Up at The New Art Gallery Walsall (2007), A New Perspective at The National Gallery, London (2006), and Temporary Conversations at Tate Britain, London (2004).<\/p>\n

Project details<\/h5>\n

Year:<\/strong> 2003
Artist:<\/strong> Dryden Goodwin
Work:<\/strong> Dilate
Programme:<\/strong> Film and Video Umbrella Touring Exhibition
Commissioned in association with:<\/strong> Manchester City Art Gallery
Supported by:<\/strong> National Touring Programme of Arts Council England; The Henry Moore Foundation
Format:<\/strong> 8-channel video installation
Country:<\/strong> United Kingdom<\/p>","protected":false},"excerpt":{"rendered":"

Dilate Project description Dilate is an immersive installation by British artist Dryden Goodwin (b. 1971, London) that explores human identity, movement and perception through drawing, video and photography. Goodwin\u2019s practice is characterised by close attention to detail, slow-motion depictions of the human figure, and the combination of multiple media to investigate the passage of time […]<\/p>\n","protected":false},"author":1,"featured_media":4651,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[30,28,29,32,9],"tags":[],"class_list":["post-4663","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-commission","category-curating","category-exhibition","category-moving-image","category-projects"],"acf":[],"_links":{"self":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/4663","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4663"}],"version-history":[{"count":11,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/4663\/revisions"}],"predecessor-version":[{"id":8013,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/4663\/revisions\/8013"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/media\/4651"}],"wp:attachment":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4663"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4663"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4663"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}